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Sticky Notes: The Classical Music Podcast

The Life and Music of Lili Boulanger

Sticky Notes: The Classical Music Podcast

Joshua Weilerstein

Arts, Performing Arts, Music

4.92.5K Ratings

🗓️ 4 July 2024

⏱️ 47 minutes

🧾️ Download transcript

Summary

The history of classical music is littered with the stories of great composers who tragically died young. The composer I've been talking about for the last two episodes, Franz Schubert, died at 31. Mozart died at 36, Mendelssohn at 38, Bizet at 37, Gershwin at 38, Gideon Klein at 25, Purcell at 36. The composer I will tell you about today is part of this sad list. Lili Boulanger, one of the most talented and promising composers of her era, died at the age of just 24, and her entire life since the age of 2 was marked by illness and poor health. In her short life she wrote around 24 works, many of which show extraordinary prowess for such a young composer. Boulanger was the first woman to win the famous Prix de Rome, a French composition prize won by past luminairies such as Berlioz, Gounod, Debussy, Faure, Massenet, and many other greats of French composition. It was also won by Boulanger's father, a story we'll get to as we go through Boulanger's life. Her music was marked by the influences of impressionism, but also by the influence of her perhaps more well known sister, Nadia, who became a legendary composition teacher throughout the 20th century. Today I'll take you through some of the key moments in Boulanger's life, and we'll also take a look at 3 of her pieces: Les Sirenes, Faust Et Helene, the piece that won Boulanger the Prix de Rome, written when she was just 18, and we'll finish with an orchestral piece that might be the most frequent way you might encounter Boulanger's music in the concert hall these days entiled D'un Matin de Printemps. Boulanger, despite her short life, is one of hte most fascinating and underrated musical figures in classical music history, so if you aren't already familiar with her music, I can't wait to introduce you to her this week. Join us!

A big thank you to Thomas Goss for his research on Lili Boulanger - his fantastic article on her is available here: https://orchestrationonline.com/lili-boulanger-in-her-own-right/

Performances:

Les Sirenes: Chorus: Philharmonia Chor Stuttgart with Helene Schneiderman, mezzo-soprano and Émile Naoumoff, piano

Faust Et Helene: Ann Murray (mezzo-soprano), Bonaventura Bottone (tenor), Jason Howard (baritone), BBC Philharmonic, Yan Pascal Tortelier, Conductor

D'un Matin de Printemps: BBC Philharmonic, Yan Pascal Tortelier, Conductor

Transcript

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0:00.0

Hello and welcome to Sticky Notes, the Classical Music Podcast. My name is Joshua

0:15.3

Weilerstein. I'm a conductor, and I'm the chief conductor of the Allborg Symphony and the

0:19.8

music director-designate of the Orchestra Nacional de Lille.

0:23.0

This podcast is for anyone who loves classical music, works in the field, or is just getting

0:28.0

ready to dive in to this amazing world of incredible music.

0:31.5

Before we get started, I want to thank my new Patreon sponsors, Melinda, Paul, Greg, Michael,

0:37.4

Martin, Carl, and all of my other Patreon sponsors, Melinda, Paul, Greg, Michael, Martin, Carl, and all of my other Patreon sponsors

0:41.3

for making Season 10 possible. If you'd like to support the show, please head over to patreon.com

0:46.2

slash Sticky Notes Podcast. And if you are a fan in the show, please take a moment to give us a

0:50.4

rating or review on Apple Podcasts. It is greatly appreciated.

0:56.0

So I've just returned from a week with the Orchestra Philharmonic de Gran Canaria.

1:01.9

We did a program with just one piece, Shostakovich's seventh symphony, the Leningrad Symphony.

1:08.2

This is a very unusual special piece historically, musically. I did a show

1:13.7

about it right at the beginning of the pandemic, which I didn't do like a sort of typical analysis,

1:18.4

but it mostly told the story of the piece and the premiere of the symphony. This was a very special

1:23.5

experience. It's not a piece that's played very often, partly because it has 10 extra brass

1:27.6

players and seven percussionists. On my Patreon mini episode this week, I went into the

1:34.1

noise and hearing implications of this piece, which came up a lot during the week. But it was a

1:40.1

really special experience. It's a wonderful orchestra, and the audience had never heard this

1:44.5

symphony before, because the orchestra had never played the symphony in its history. So,

1:48.9

this was really great. And I'm also this week going to be in Manchester with the BBC Philharmonic

1:54.5

doing something completely different, a bunch of first symphonies, Haydn's first symphony,

...

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